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With  the  keenest  apprecia- 
tion for  the  man  who  has  been 
my  friend  for  many  years  and 
to  whose  intelligent  collabora- 
tion I owe  a large  share  of  the 
credit  for  much  of  my  best 
work,  I respectfully  dedicate 
this  book  to  John  C.  Eastman. 

— J . Campbell  Cory 


Digitized  by  the  Internet  Archive 

in  2016 


https://archive.org/details/cartoonistsartinOOcory 


^jvxnrLriririrLi^i^^i^  * 


The  Cartoonist’s  Art 


By 


J.  Campbell  Cory 


In  which  the  First  and  Last  Word  is  Spoken.’ 


Copyright,  1912 

The  Tumbo  Co.,  1006  Hearst  Bldg.,  Chicago 

All  Rights  Reserved 


Lookins:  Forward 


Why  This  Book? 

BELIEVE  it  to  be  the  vogue — a sort  of  unwritten  law — to  offer 
an  explanation  amounting  to  an  apology  when  one  presumes  to 
publish  a book  and  I will  say  quite  frankly  that  it  has  required  a 
degree  of  courage  of  which  I scarce  deemed  myself  possessed  to 
bring  this  effort  to  its  final  chapter  and  to  present  it,  in  all  its 
seeming  egotism,  to  the  critical  eye  of  public  analysis. 

It  will  be  noticed  that  I do  not  debate  the  points  of  difference 
between  the  works  of  other  successful  cartoonists  and  my  own. 
On  the  contrary  I have  the  greatest  admiration  for  the  produc- 
tions of  many  members  of  my  profession  who  work  along 
entirely  different  lines.  But  such  success  as  I have  met  with  has  been 
achieved  by  strict  adherence  to  the  methods  explained  in  these  pages  and 
I see  no  reason  why  others  may  not  reach  highly  profitable  recognition  by 
following  the  short  cuts  that  I am  qualified  by  experience  to  point  out. 

I have  tried  to  make  of  this  volume  a real  engine  of  usefulness  to  the 
earnest  student.  The  hints,  suggestions  and  admonitions  of  which  it  is 
composed  have  been  threshed  from  thfe  chaff  of  spurious  dogmas  during 
long  years  of  hard  experience.  Had  I access  to  such  a book  twenty  years 
ago  I would,  of  a certainty,  have  achieved  earlier  recognition  and  a greater 
measure  of  success. 

Candidly  I have  found  it  quite  impossible  to  refrain  from  attempting 
to  fill  a void  which  truly  does  exist.  So  far  as  I know  there  is  no  other 
book  like  this.  So,  upon  second  thought,  I will  send  it  forth  upon  its  mis- 
sion without  an  apology  after  all. 

Illustrations 

It  will  be  noted  that  I have  used  comparatively  few  specially  made 
drawings  for  this  book,  preferring  to  demonstrate  the  various  points  in  the 
text  with  illustrations  taken  from  the  actual  daily  run  of  my  work,  thus 
showing  a more  conclusively  practical  argument  in  favor  of  the  methods  by 
which  I have  attained  satisfactory  results. 

The  drawings  used  have  not  been  selected  for  their  excellence  so  much 
as  for  their  illustrative  quality  with  relation  to  the  text. 


What  Is  A Cartoon  ? 

IF  YOU  look  up  the  definition  in  Webster  you  will  be  disappointed.  It  is  there  defined 
as  “a  drawing  upon  a large  sheet  of  paper.”  Since  Webster  compiled  his  single 
literary  masterpiece,  the  word  “cartoon”  has  gradually  assumed  a far  greater  signifi- 
cance. 

By  degrees  it  has  become  recognized  as  a pictorial  editorial — a single  drawing  in 
which  is  told  a story — in  which  is  spread  forth  a caustic  commentary  upon  some  vital 
topic  of  the  moment — in  which  some  great  evil  is  pointed  out,  or  a great  virtue  com- 
mended, and  all  in  such  a manner  that  the  runner  may  read  and  be  influenced  according 
to  the  strength  of  the  portrayal  and  the  susceptibility  of  him  who  sees  and  ponders. 

The  fact  is  that  the  cartoon,  in  its  generally  accepted  sense  today,  is  the  most 
powerful  instrument  for  the  upbuilding  or  the  annihilation  of  personal  and  public 
ambitions  that  is  permitted  to  exist  under  the  sacred  and  inviolable  protection  of  the 
“freedom  of  the  press.” 

The  cartoonist  may  express  what  the  editor  dares  not  write;  he  can  sway  the 
damning  ridicule  of  the  illiterate  rabble  and  he  can  direct  the  public  finger  of  withering 
contempt  hither  and  yon,  while  on  the  other  hand,  his  power  to  uplift  and  glorify  and 
give  to  remote  personalities  the  widest  publicity  is  almost  beyond  belief — all  in  a 
manner  that  cannot  be  achieved  in  printed  words  by  the  most  accomplished  writer. 

Hogarth  was  the  first  genuine  cartoonist  of  any  note.  His  powerful  satires  in 
the  form  of  crude  etchings  had  the  strength  of  delineation  and  genius  of  inspiration  to 
set  the  people  of  his  day  by  the  ears  and  to  insure  to  himself  enduring  fame  in  history. 

It  is  a far  cry  from  Hogarth  to  Thomas  Nast  but  I am  personally  of  the  opinion 
that  the  intervening  aspirants  for  cartoon  fame  were  a paltry  lot.  To  Nast  is  this  hem- 
isphere indebted  for  its  inspiration  in  the  actual  cartoon  field.  The  vitality  and  tremend- 
ous strength  of  his  creations  were  sufficient  to  influence  the  political  complexion  of  the 
nation  and  to  utterly  demolish  the  greatest  political  organization  for  graft  that  ever 
existed  upon  American  soil. 

The  maker  of  comic  joke  pictures,  or  the  creator  of  a humorous  series,  is  no  more 
entitled  to  be  called  a cartoonist  than  is  a rough-and-tumble,  slap-stick  comedian  to  be 
hailed  as  a legitimate  actor. 

The  comic  artist  is  a latter  day  necessity  to  the  circulation  department  of  our 
great  daily  papers.  His  work  is  entertaining  if  not  instructive  but  he  is  not  a car- 
toonist for  the  same  reason  that  a bass  drum  is  not  a violin.  In  a word,  the  comic  artist 
labors  to  make  his  fellowmen  laugh  while  the  cartoonist’s  mission  is  to  make  them  think. 


More  Bravado 


—Courtesy  Harper’s  Weekly. 


A caricaturist  is  not  a cartoonist  although  a cartoonist  must  be  a caricaturist.  A 
caricature  is  merely  an  exaggerated  character  study  of  an  individual.  In  it  is  empha- 
sized the  subtle  points  of  difference  between  the  subject  and  his  fellowmen. 

No  two  people  are  just  alike  as  to  features,  and  yet  all  are  so  nearly  so,  in  a gen- 
eral way,  that  it  would  puzzle  the  average  layman  to  define  the  points  of  divergence 
between  two  average  clean-shaven  Americans  of  similar  age  taken  haphazard  as  they 
come. 

The  true  caricaturist  makes  a keen  analysis  of  his  subject,  discovers  those  minute 
points  of  individuality  which  exist  in  every  human  being  to  a greater  or  lesser  extent 
and  then  proceeds  to  draw  those  characteristics  in  italics,  as  it  were. 

The  result — if  he  be  a master  of  his  art — is  an  exaggerated  likeness  which  looks 
(grasp  this  if  you  can)  more  like  the  subject  than  the  subject  does  himself. 

On  another  page  special  attention  is  devoted  to  this  important  branch  of  the  car- 
toonist’s education. 

Variety 

There  are  many  kinds  of  cartoons,  but  they  may  all  be  classified  under  the  fol- 
lowing heads:  Topical,  Human  Interest,  Serious,  Seasonable,  Sporting,  International, 
The  Trusts  and  Political..  It  will  be  noted  that  under  these  broad  heads  the  principal 
illustrations  in  this  book  are  subdivided. 

In  dealing  with  political  situations  and  with  the  men  and  forces  involved,  the 
cartoonist  finds  his  greatest  source  of  inspiration  and  usefulness.  Satire  is  his  strong- 
est weapon  and,  if  keenly  directed,  he  can  give  his  victim  a more  deadly  thrust  in  one 
simple  but  deftly  pointed  and  extensively  circulated  drawing  than  can  the  ablest 
writer  of  a hundred  scathing  editorials.  Clever  editorials  are  extremely  helpful  or  vastly 
annoying  to  an  aspirant  for  a political  office  when  published  in  a widely  read  and  dig- 
nified daily  paper;  but  they  are  as  pin-pricks  compared  to  the  thrust  of  a rapier  in  their 
potency  when  weighed  in  the  balance  with  a cartoon  of  equal  merit  and  printed  side 
by  side.  No  writer  can  portray  in  words  the  sinister  hypocrisy  of  the  ordinary  politi- 
cian as  the  cartoonist  can  blazen  it  in  a well  thought  out  and  strongly  executed  picture; 
and  it  must  not  be  forgotten  that  where  one  voter  reads  an  editorial  fifty  see  and  com- 
prehend the  cartoon.  ' 

Therefore  the  cartoonist  must  learn  the  use  of  ridicule  and  satire  in  its  most  re- 
fined and  telling  phases;  to  distinguish  between  mud-slinging,  which  is  merely  brutal 
and  ineffectual,  and  the  clever  banter  of  derision  which  holds  his  victim  up  to  the  mul- 
titude as  a preposterous  incompetent  or  an  outrageously  designing  scoundrel. 

Never  make  a vulgar  cartoon — never  portray  a human  being  as  a loathsome  para- 
site or  a disgusting  animal.  Avoid  this  because  it  is  unethical  and  because  such  a pic- 


In  Memoriam 


9 


— Courtesy  Harper’s  Weekly. 


ture  creates  more  sympathy  than  derision  and  therefore  proves,  if  not  a boomerang,  a 
blank  cartridge.  To  illustrate,  I have  printed  on  pages  15  and  17  two  of  my  own 
cartoons  of  which  I disapprove. 

TOPICAL. 

The  Topical  cartoon  is  suggested  to  the  mind  of  the  artist  by  any  event  of  the  day 
which  may  be  of  sufficient  national  or  local  importance.  A widely  discussed  wedding 
or  divorce,  a great  bank  robbery,  a flood,  a fire,  or  a railroad  disaster.  In  such  cartoons 
a moral  should  be  pointed — a lesson  deducted  and  strongly  presented.  There  are  topics 
almost  of  daily  occurrence  of  sufficient  magnitude  to  be  used  as  a basis  for  good  car- 
toons. 

Examples  of  Topical  cartoons  are  given  on  pages  36,  37,  and  38. 

HUMAN  INTEREST. 

Human  interest  cartoons  are  those  which  appeal  directly  to  human  sentiment — it 
may  be  the  sentiment  of  humor,  or  of  pity,  love,  or  loathing.  It  is  a very  wide  field  and 
one  much  favored  by  editors.  The  Topical  cartoon  is  practically  a human  interest 
creation,  as  will  be  noted  in  a general  assortment  of  human  interest  cartoons  on  pages 
39  to  47  inclusive. 

SERIOUS 

Cartoons  of  a strictly  serious  nature  are  often  required  upon  a grave  topic  such 
as  the  death  of  a national  figure,  a great  labor  movement  or  in  commemoration  of  an 
historic  event.  Such  efforts  call  for  careful  study  in  composition,  excellence  in  drawing 
and  little,  if  any,  exaggeration.  The  heroic  style  of  cartoon  is,  of-  course,  the  most 
dignified  branch  of  the  art  but  occasions  justifying  this  class  of  drawing  are  so  few  that 
a successful  cartoonist  must  depend  upon  his  versatility  along  other  lines  in  order  to 
supply  the  daily  demand. 

On  pages  48,  49  and  50  are  printed  three  moderately  good  specimens  of  the 
serious  type  of  cartoon. 

SEASONABLE. 

This  offers  a wide  field  of  inspiration  of  limitless  variety  for  the  cartoonist.  Hot 
weather,  the  summer  girl,  public  holidays,  school  vacation — its  beginning,  its  end,  and 
the  out-of-door  high  jinks  of  vacation  days.  The  summer  boarder,  the  country  boarding 
house  and  summer  tourist.  Winter  sports,  Christmas  shopping,  the  suffering  of  the  des- 
titue  in  winter  and  an  almost  endless  list  of  cartoon  material  is  suggested  by  the  vary- 
ing seasons  of  the  year.  See  pages  51  to  56  inclusive. 

Sometimes  a seasonable  cartoon  can  be  embellished  by  the  addition  of  an  appro- 
priate verse  as  in  the  case  of  the  “Summer  Girl”  exhibit  on  page  51. 

SPORTING 

It  is  customary  nowadays  for  the  larger  daily  papers  to  employ  two  cartoonists, 
the  efforts  of  one  being  more  or  less  confined  to  topics  of  the  sporting  page.  Many 


11 


Fire  and  Water  Make  Vapor 


■Courtesy  Harper’s  Weekly. 


enviable  reputations  have  been  achieved  by  cartoonists  who  have  specialized  in  sports. 
Notably,  Robert  Edgren  of  the  New  York  Evening  World,  Clare  Briggs  of  the  Chicago 
Tribune,  Carlson  of  the  Chicago  Inter-Ocean  and  T.  A.  Dorgan  of  the  Hearst  papers. 

Every  cartoonist  should  keep  more  or  less  in  touch  with  the  major  sports  of  the 
various  seasons  as,  from  this  source,  many  excellent  cartoon  ideas  arise.  See  pages  57, 
58,  59. 

INTERNATIONAL  i 

International  complications  furnish  much  interesting  material  for  cartoons,  and 
in  many  of  these  it  will  be  found  necessary  to  introduce  our  dear  old  patron  saint, 
Uncle  Sam;  John  Bull  of  England;  the  “Little  Father”  of  Russia;  the  helmeted  “War 
Lord”  of  Germany;  the  dapper  French  diplomat,  with  his  conventional  waxed  mus- 
tache and  flat-brimmed  tile;  the  Turkish  “Sick  Man  of  Europe;”  the  picturesque  don  of 
Spain  and  the  swarthy  scion  of  “Sunny  Italy.” 

All  of  these  typical  and  emblematic  figures  should  be  intimate  acquaintances  of 
the  daily  cartoonist  who,  unlike  his  brother  of  the  weekly  press,  has  not  the  time  for 
posing  of  appropriately  costumed  models.  I advise  especial  study  of  Uncle  Sam.  As  I 
veiw  him,  he  combines,  in  his  quaint  personality,  all  that  is  great  and  broad  and  lov- 
able. He  is  generous  and  honorable;  just,  to  the  point  of  inflexibility;  wiser  than  Sol- 
omon; more  fearless  than  a lion;  more  kindly  than  a mother;  more  proud  than  a pea- 
cock; more  modest  than  a wren.  He  is  infallible  and  he  is  weak;  he  is  prodigal  of  ex- 
pense and  cunningly  acquisitive;  he  is  a stately  diplomat  and  a rare  old  sport;  in  short, 
he  is  paradoxically  grand  and  imperfectly  faultless.  Only  a myth  can  combine  all  of 
these  conflicting  qualities  and  remain  a flawless  unit,  but  “Uncle”  is  a magnificent  myth 
and  worthy  of  deep  study.  Moreover,  there  is  no  figure  that  must  enter  so  often  and 
so  prominently  into  the  work  of  an  American  cartoonist. 

On  pages  60  to  64  inclusive  will  be  found  examples  of  the  usefulness  of  “Uncle 
Sam”  in  cartoon  composition. 

THE  TRUST 

A figure  representing  the  money  interests  (Wall  Street),  and  the  “Trusts,”  is  a 
very  necessary  item  in  the  equipment  of  the  modern  cartoonist. 

While  I believe  that  one  should  endeavor  to  evolve  a distinctive  and  original 
character  of  his  own  for  this  role,  there  are  certain  features  already  popularized  and 
generally  accepted  as  standard  which  can  hardly  be  overlooked.  For  instance,  the 
“Trust”  figure  must  be  fat  and  vulgar,  overdressed,  bejeweled  and  brutal,  massive  in 
bulk  and  arrogant  of  expression. 

He  is  supposed  to  represent  the  common  enemy  of  the  working  people;  he  is 
to  be  viewed  as  the  baneful  blight  of  American  industry  and  civilization;  the  grasping 
ravisher  of  the  toiler’s  hard-earned  wage;  the  Mephisto  of  the  universal  drama  of 


13 


The  Tiger  and  the  Lamb  Lie  Down  Together 


life.  However  much  of  actual  materialism  there  may  be  in  fact  for  this  mythical 
monster,  there  can  be  no  doubt  as  to  his  usefulness  to  the  cartoonist  or  of  the  potency 
of  his  well  executed  introduction  in  cartoons  bearing  upon  labor  topics.  Hence  much 
practice  and  study  is  justifiable  in  the  effort  to  produce  a thoroughly  impressive  cre- 
ation typifying  “the  sordid  slave-driver  of  the  nation” — the  trusts. 

Several  examples  of  my  own  conception  are  given  on  pages  65,  66,  67,  and  68. 

LOCAL  POLITICS 

Should  you  be  employed  on  an  afternoon  paper  your  topics  will  be  largely  con- 
fined to  local  subjects  and  you  will  find  good  enough  “gunning”  in  your  own  city, 
county  and  state  to  keep  you  supplied  with  interesting  material,  especially  if  your 
paper  be  an  aggressive  organ  of  “the  opposition.” 

Local  political  struggles  are  always  more  bitterly  acrimonious  than  national  cam- 
paigns and  local  elections  are  far  more  frequent.  There  are  a thousand  ways  in  which 
to  make  even  a meritorious  opposition  squirm  through  the  medium  of  cartoons.  The 
two  illustrations  on  pages  69  and  70  are  merely  printed  as  a suggestion  of  the  possibility 
for  variety. 


Draughtsmanship 

In  dealing  with  this  topic,  I can  speak  with  a degree  of  appreciation  and  a keen 
sense  of  its  importance  that  a finished  art  student  might  not  feel,  inasmuch  as  my  tech- 
nical knowledge  of  draughtsmanship  consists  only  of  such  tricks  and  subterfuges  as 
may  be  absorbed  out  of  school  and  during  the  daily  grind  for  a living  and  individual 
recognition. 

If  you  would  become  a successful  cartoonist  I earnestly  urge  you  first  of  all  to 
secure  a general  knowledge  of  draughtsmanship  in  the  most  available  art  school  of 
good  standing.  Lacking  the  fundamental  principles,  thus  obtainable,  will  prove  a stum- 
bling block  and  a heavy  handicap  throughout  your  career.  It  is  as  necessary  to  the 
cartoonist  as  is  a common  school  education  to  the  business  man. 

Men  do  occasionally  succeed  in  business  without  book  learning  and  cartoonists 
have  risen  to  a considerable  degree  of  fame  without  a primary  education  in  drawing, 
but  these  feats  have  been  accomplished  by  reason  of  unusual  qualities,  abnormal  per- 
sonalities and  the  exercise  of  a fulsome  measure  of  grit  and  determination  possessed 
by  few. 

Even  in  the  isolated  cases  of  such  succesful  men  and  women  you  will  find  not 
one  who  will  deny  that  preliminary  training  would  have  smoothed  the  path,  lightened 
the  labor  and  shed  the  light  of  understanding  upon  the  darkest  hours  of  their  struggle 


<9 ./ u 


15 


O 

(T> 

P 

Cl 

O 

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for  recognition  and  prominence.  Under  this  head  particular  stress  should  be  given  to 
the  study  of  perspective  which  is  a fundamental  factor  in  all  drawing. 

PERSPECTIVE  i 

This  is  a branch  of  draughtsmanship  which  enters  into  the  composition  of  even 
the  simplest  drawing.  It  is  entirely  mechanical  and  automatic  in  its  application  and 
is  as  readily  construed  by  the  artist  who  comprehends  it  as  is  printed  music  by  the  fin- 
ished pianist. 

Without  a general  knowledge  of  the  principle  rules  of  perspective  your  work,  no 
matter  how  cleverly  executed,  will  contain  faults  that  will  be  apparent  even  to  the  nov- 
ice. There  are  many  books  to  be  had  upon  this  subject.  I can  only  advise  you  to  master 
a general  knowledge  of  it  before  expecting  to  become  a successful  cartoonist. 

FORESHORTENING 

Another  word  for  perspective  which  is  used  more  commonly  by  the  cartoonist,  and 
among  all  free-hand  illustrators  whose  work  deals  chiefly  with  the  human  figure,  is  fore- 
shortening. 

To  get  an  adequate  idea  of  the  accepted  meaning  of  this  term,  stand  in  front  of 
a mirror  and  point  your  left  index  finger  directly  at  the  reflected  image  of  your  own 
eye.  With  your  right  hand,  take  a pencil  and  draw  the  reflected  hand  and  arm  just  as 
you  see  it  and  endeavor  to  get  the  effect  in  the  sketch  that  you  see  in  life.  You  will  not 
find  this  easy. 

The  desired  result  can  be  best  obtained  by  exaggeration  of  the  principal  lines  of 
contour  and  the  entire  omission  of  perplexing  lines  that  do  not  add  to  the  feeling  of 
perspective. 

Every  attitude  of  the  human  figure  calls  for  careful  foreshortening  in  the  draw- 
ing and  in  many  postures  the  artist  will  find  difficult  problems  to  solve. 

As  stated,  I advise  an  exaggeration  of  the  perspective  to  as  great  a degree  as  the 
sense  of  the  drawing  and  the  style  of  the  artist  will  warrant,  an  elimination  of  unnec- 
essary detail  and  a strengthening  of  the  lines  that  bring  the  nearest  points  of  the  figure 
or  object  most  sharply  and  aggressively  into  the  foreground  and  causing  the  portions 
furthest  from  the  eye  to  recede  in  an  almost  startling  measure. 

It  is  astonishing  to  note  the  feeling  of  actual  depth  that  can  be  produced  upon  a 
flat  piece  of  paper  merely  by  the  exaggerated  foreshortening  of  a single  figure  with- 
out the  aid  of  any  background  or  comparative  accessory  whatever. 

In  the  exercise  suggested  it  will  be  found  that  a life-size  drawing  of  a hand  and 
arm  thirty-five  inches  in  length  can  be  made  within  a six-inch  circle  while,  if  the  fore- 


17 


The  Parasite 


> ■ S 


shortening  be  successfully  worked  out,  the  full  lenght  of  the  arm  will  be  entirely  ap- 
parent. Use  the  mirror  and  work  from  life  whenever  possible. 

ANATOMY 

Under  the  broad  head  of  Anatomy  comes  the  next  important  phase  of  draughts- 
manship and,  unlike  the  fixed  and  rule-bound  science  of  perspective,  anatomy  is  a wierdly 
elastic  thing.  Furthermore  it  applies  with  the  same  degree  of  importance  to  an  old 
shoe  or  hat  or  the  drapery  of  a gown  or  to  the  folds  and  creases  in  a coat  sleeve,  as  to 
the  human  face. 

Take,  for  instance,  the  changing  creases  that  occur  in  the  sleeve  of  a man’s  coat 
according  to  the  angle  at  which  his  elbow  may  be  posed  (see  illustrations  page  19) ; and 
the  bend  of  his  knee  as  surely  determines  the  anatomy  of  the  folds  of  the  trouser  leg  at 
that  point. 

There  are  many  ways  that  these  folds  may  occur,  according  to  the  anatomy  of 
the  arm  or  leg  beneath  or  the  texture  of  the  cloth  but  there  are  far  more  ways  in  which 
they  cannot  fold  and,  strange  as  it  may  seem,  the  novice  invariably  chooses  one  of  the 
latter.  He  vaguely  knows  that  the  cloth  would  wrinkle  at  a given  point  but  he  fails  to 
appreciate  the  cardinal  importance  of  modelling  the  form  beneath  the  clothes  by  the 
anatomy  of  the  wrinkles  in  the  clothes  themselves.  The  result  of  this  inexcusable  care- 
lessness is  a product  that  merely  stamps  the  perpetrator  as  a tyro  and  a weakling.  The 
public  does  not  know,  or  care,  what  it  is  that  offends  them  in  the  picture  but  they 
simply  do  not  find  it  “classy”  and  toss  it  aside. 

Correct  anatomy  in  clothing,  as  well  as  in  the  face  and  hands  and  feet  of  the  sub- 
ject, may  be  amplified  and  exaggerated  to  an  almost  unlimited  extent  and  in  the  broader 
style  of  work  this  is  often  done  by  the  leading  cartoonists  of  the  day  in  order  to  empha- 
size some  point  in  the  picture. 

For  instance,  if  the  subject  be  a thin  individual  the  wrinkles  in  the  clothing 
would  be  shown  in  large,  loose  folds ; whereas,  if  he  or  she  be  stout  they  would  naturally 
be  drawn  taut  and  in  more  direct  conformity  with  that  portion  of  the  body  which  they 
cover.  See  illustration  on  page  21. 

Now,  in  case  the  foregoing  should  have  a tendency  to  appall  you,  I am  going  to 
add  a postscript  on  draughtsmanship  which  may  sound  more  encouraging  and  which 
really  is  a very  important  summary  of  the  rest. 

It  is  this — AVOID  DETAIL.  Not  because  you  cannot  draw  details,  but  because 
a mere  suggestion  of  correct  anatomy  will  answer  your  purpose  far  better  than  a pain- 
fully wrought  production  of  carefully  executed  minutia. 

Having  secured  a well  grounded  knowledge  of  correct  perspective  and  anatomy, 
you  will  find  that  both  can  be  more  pleasingly  demonstrated  in  your  work  by  masterly 
suggestion  than  by  the  most  conscientiously  labored  completion.  Unnecessary  detail 


in  a cartoon  detracts  from  the  main  point  or  lesson  which  the  drawing  is  intended  to 
convey. 

The  greatest  strength  of  expression  is  reached  by  the  elimination  of  unnecessary 
details  in  the  composition  but  this  process  of  elimination  must  be  controlled  and  di- 
rected, and  the  simplicity  of  the  suggested  anatomy  must  be  governed  by  a firm  and  well 
grounded  knowledge  of  draughtsmanship. 

COMPOSITION 

I believe  that  a large  measure  of  such  success  as  I have  been  able  to  achieve  has 
been  due  to  simplicity  of  composition.  A strong  face  and  figure,  with  every  lineament 
of  the  face  and  every  detail  of  the  attitude  expressive  of  the  situation  depicted  in  an  ex- 
aggerated degree,  is  a favorite  “stunt”  of  mine. 

Such  a central  object  in  your  drawing  will  immediately  catch  the  eye  of  the  busy 
reader  and  your  production,  having  done  this,  is  already  half  a success.  For  the  balance 
I use  only  such  accessory  figures  or  objects  as  may  be  absolutely  necessary  to  make  my 
point. 

These  subsidiary  details  should  not  be  less  carefully  studied  however  with  refer- 
ence to  their  essential  bearing  on  the  main  idea  and  each  object  in  the  drawing — ani- 
mate or  otherwise — should  be  made  entirely  with  a view  to  emphasizing  and  elucidating 
the  point  to  be  conveyed. 

In  other  words,  put  nothing  in  the  picture  that  does  not  add  to  the  “punch.” 
Meaningless  details  merely  obscure  your  main  thought  and  detract  from  the  poignancy 
of  your  intended  moral. 

Of  course  there  are  occasions  when,  in  order  to  make  a clear  point  upon  a certain 
topic,  one  must  suggest  a multitude,  a group,  or  even  a distant  city.  In  this  case  your 
knowledge  of  perspective  will  be  of  paramount  value  and  clever  draughtsmanship  will 
help  a lot. 

Use  only  as  much  of  the  multitude,  group  or  city  as  may  be  entirely  necessary  to 
amplify  your  point;  suggest,  rather  than  work  out,  the  details,  but  do  well  whatever  you 
decide  is  worth  doing  at  all.  See  illustration  on  page  76. 

Under  all  circumstances  employ  a central  figure,  group  or  object  of  a sufficiently 
striking  character  to  catch  the  eye — let  the  rest  of  your  composition  complete  the  story 
that  you  have  to  tell  in  the  simplest  and  most  direct  manner  and  do  not  forget  that  good 
drawing  in  every  accessory  will  aid  tremendously  in  driving  home  your  point  at  a glance. 

Keep  your  blacks  and  heavy  lines  in  the  center  of  your  drawing  and  strive  to  give 
a sense  of  balance  by  the  distribution  of  minor  details  on  either  side.  To  the  novice 


Big  Ball— Little  Club 


A cartoon  wholly  dependent  upon  the  face  and  attitude — the  idea  being  strained 
and  rather  illogical.  Nevertheless,  the  composition  is  rather  good  and  the  figure  of  Mr. 
Taft  will  serve,  in  a measure,  to  exemplify  suggestions  on  a former  page  regarding  the 
anatomy  of  the  clothing  of  a fat  man. 


the  importance  of  balance  may  be  better  appreciated  when  I give  you  my  assur- 
ance that  many  of  the  ablest  cartoonists  of  the  day  never  sign  their  creations  without  an 
inward  debate  as  to  the  proper  place  for  the  signature  with  relation  to  its  bearing  upon 
the  general  composition.  A well  balanced  cartoon  will  be  found  on  page  59. 

Printing  Quality 

Those  who  are  not  aware  of  the  method  by  which  a line  drawing  is  reproduced 
in  the  daily  press  should  grasp  and  always  bear  in  mind  the  following  facts: 

Everybody  has  a general  idea  of  how  a print  is  secured  from  ordinary  type.  The 
letter  is  raised,  or  embossed,  so  that  the  ink  roller,  in  passing  over  the  page  of  type, 
inks  only  the  raised  portions  which  form  the  letters  and,  in  the  same  manner,  the  raised 
lines  on  the  type,  when  placed  in  contact  with  the  print  paper,  deposit  the  ink  on  the 
paper  only  from  the  raised  and  inked  portions  of  the  type,  thereby  making  an  offset,  or 
print,  in  precise  duplicate  of  the  type  surface. 

If  the  type  is  not  cleanly  cut  or  the  lines  forming  the  letters  not  properly  divided, 
the  result  will  show  on  the  paper  as  a mussy  and  illegible  job — possibly  quite  unread- 
able. 

The  photo  engraving  from  a pen  and  ink  drawing  is  a photographic  reproduction 
upon  zinc.  Every  minute  line  of  the  artist  is  faithfully  reproduced  in  the  negative  and 
transferred  to  the  metal  surface.  By  means  of  chemicals  the  portions  of  the  picture 
that  show  white  in  the  drawing  are  eaten  away  to  such  a depth  that  they  will  not  take 
the  ink  from  the  roller  when  on  the  press  and  the  portions  that  show  black  in  the  draw- 
ing— every  dot  and  line  as  well  as  the  broad,  solid  blacks — are  left  raised  exactly  as  is 
the  printing  surface  of  the  type. 

The  metal  sheet  so  etched  is  then  blocked  to  make  it  precisely  “type  high”  and 
is  ready  to  take  its  place  among  the  type  features  of  the  page.  It  is  treated  as  type  and 
performs  the  same  identical  function  except  that  the  offset  is  a more  or  less  perfect  re- 
production of  the  pen  and  ink  drawing  according  to  the  care  that  the  artist  has  exercised 
in  preserving  “printing  quality.” 

Every  line  or  dot  that  you  put  into  a drawing  must  have  a form  in  order  to  be  ef- 
fective and  in  order  to  preserve  its  form,  it  must  be  surrounded  by  white.  When  a line 
or  dot  runs  into  another  line  or  dot  the  form  of  it  is  obliterated  at  the  point  of  contact. 
Where  two  lines  or  dots  are  too  close  together  they  are  apt  to  be  merged  by  the  photo- 
graphic reduction,  or  to  fill  together  when  inked. 

A mass  of  tiny  lines  niggled  together  in  a meaningless  jumble  will  produce  a 
muddy  print.  A few  strong,  snappy  strokes  of  the  pen  will  accomplish  the  required 


Hives?  No — Woolen  Underwear 


Bad  Printing^Ouality 


tone  much  better,  far  more  quickly,  and  will  print  exactly  as  drawn — to  say  nothing  of 
the  added  style  and  crispness  imparted  to  your  work.  See  illustrations  on  page  23. 

Hence,  keep  your  lines  and  dots  we  11  apart  and  grade  from  solid  black  to  a half- 
tone with  a degree  of  abruptness  that  will  insure  clean-cut,  sharp  results  in  the  printed 
reproduction. 


Technique 

Temperamental  eccentricity  will  have  a very  great  influence  over  the  style  that 
the  student  will  gradually  develop  with  experience  and  consequent  self-assurance. 
There  is  a certain  degree  of  personality  in  the  work  of  every  finished  cartoonist  which 
distinguishes  his  productions  from  those  of  all  others. 

Where  the  artist  is  possessed  of  a strong  and  self-assertive  character  his  per- 
sonal style  will  be  more  pronounced,  just  as  is  the  case  in  handwriting.  We  might  all 
learn  to  write  from  the  same  copy  book  and  at  the  outset  all  might  write  in  practically 
the  same  style,  but  personality  creeps  in  later  to  such  an  extent  that  no  two  individuals 
after  much  experience  write  the  same  hand. 

To  begin  with  however,  I strongly  advise  the  cartoon  student  to  found  his  tech- 
nique upon  the  general  style  of  Thomas  Nast,  examples  of  whose  work  are  given  on 
pages  7-9-11-13.  It  was  from  this  source  that  -Bush,  Davenport,  Nelan,  McCauley  and 
many  other  eminent  cartoonists  drew  their  inspiration  and  I like  to  believe  that  my  own 
work  reflects  my  admiration  for  the  bold  “cross-hatching”  and  masterly  gradations  of 
his  style. 

To  be  sure  the  “old  master”  was  hampered  by  the  limitations  of  wood  engrav- 
ing and  I have  often  felt  that  the  later  generation  has  been  deprived  of  much  because  of 
the  undiscovered  possibilities  of  photo  engraving  in  the  day  of  Thomas  Nast. 

Expression 

We  have  now  reached  what  I look  upon  as  the  most  important  chapter  in  this 
book  for  the  reason  that  all  else  that  has  been  written,  as  well  as  that  which  follows, 
is  directly  contributory  to  the  expression  of  the  cartoon  because,  if  the  cartoon  does  not 
express  the  thought  which  inspired  it,  the  labor  of  its  creator  is  thrown  away. 

In  order  to  most  clearly  elucidate  the  many  phases  of  expression  which  enter 
into  a successfully  executed  cartoon,  various  specimens  of  the  essential  phases  of  ex- 
pression are  here  given — attitudinal,  facial  and  constructive. 

In  the  cartoon  labeled  “Absolute  Life”  we  have  an  excellent  sample  of  attitudinal 
expression.  Utter  despair  is  here  depicted  without  the  assistance  of  facial  expression. 
In  such  a cartoon  very  little  exaggeration  is  premissible  and  the  artist  must  depend  al- 


25 


(( 


ABSOLUTE  LIFE 


most  entirely  upon  the  strength  of  his  drawing  and  the  inspiration  of  his  pose  for  the 
required  effect. 

On  the  following  page  is  given  a little  series  of  roughly  sketched  postures  de- 
noting fourteen  attitudinal  expressions.  More  or  less  exaggeration  is  indulged  in  to 
emphasize  the  expression  portrayed  in  each.  It  should  be  carefully  noted  that  the  hands 
play  a very  important  part  in  every  instance  and  the  student  is  urged  to  study  carefully 
the  conventional  gestures  relating  to  all  of  the  human  emotions  that  are  apt  to  enter 
into  cartoon  composition. 

In  further  elucidation  of  the  expression  of  hands  a group  of  more  careful  draw- 
ings is  given  on  page  28.  I believe  that  no  other  phase  of  the  effective  cartoon  is  of 
more  importance  than  the  intelligent  development  of  appropriate  expression  of  posture. 

Let  us  now  consider  the  still  more  interesting  topic  of  facial  expression,  the  study 
of  which  is  rendered  the  more  attractive  to  the  cartoonist  because  of  its  intimate  asso- 
ciation with  the  art  of  caricature.  In  the  examples  given  on  pages  29  and  31,  care  has 
been  exercised  in  the  selection  of  studies  with  a view  to  their  simplicity. 

In  the  strips  captioned  “Diagramatic  evolution  of  a smile  and  frown”  only  the 
lines  are  shown  which  are  necessary  in  the  production  of  the  required  expressions  and, 
while  in  the  vast  variet)^  of  faces  portrayed  in  the  work  of  a busy  cartoonist  these  lines 
may  be  very  differently  placed  to  fit  the  character,  they  are,  nevertheless,  essential  in 
the  production  of  a smile  or  a frown  on  any  face.  Caricature  enters  into  the  develop- 
ment of  facial  expression  in  the  exact  degree  to  which  these  lines  must  be  modified, 
emphasized  or  reformed  to  fit  the  individual  peculiarities  of  the  subject  of  the  cartoon. 

It  seems  almost  incredible  that  the  same  set  of  involuntary  facial  muscles  can  ex- 
press so  many  emotions  of  the  mind — anger,  hate,  love,  mirth,  contempt,  fear,  sur- 
prise, joy,  sorrow  and  a hundred  far  more  subtle  reflections  of  mental  changes.  Every 
face  that  is  necessary  to  the  composition  of  a cartoon  must  have  an  appropriate  expres- 
sion bearing  upon  the  main  point. 

It  may  be  that  absolute  stolidity  of  expression  is  required  to  amplify  the  mean- 
ing of  a certain  picture  but,  even  in  this  case,  stolidity  of  expression  may  be  susceptible 
to  exaggeration  if  the  artist  be  a close  student  of  facial  expression. 

Originality 

Above  all  things  cultivate  originalit}^  Beyond  the  broad  rules  I have  set  down 
in  the  foregoing  chapters  (to  which  you  must  strictly  adhere)  there  is  a wide  and  en- 
chanting field  of  unrestricted  license  in  which  you  may  turn  your  imagination  loose 
and  bid  it  defy  all  dogmas  and  tenets  of  the  past  and  the  present. 

For  instance,  you  have  a certain  topic  or  situation  as  the  basis  for  a cartoon  in 
which  the  editorial  views  of  your  paper  must  be  emphatically  expressed.  First  get  a 


27 


Supplication 


Dejection 


Too  much  stress  cannot  be  placed  upon 
the  importance  of  appropriate  posturing  of  the 
figures  used  in  the  composition  of  a cartoon.  An 
excellent  plan  is  to  endeavor  to  place  yourself 
in  the  exact  situation  of  the  subject  of  your  pic- 
ture; get  into  the  humorwhich  controls  the  ac- 
tion and  note  the  attitude  that  you  will  involun- 
tarily assume.  Much  can  be  accomplished  by  a 
conscientious  student  by  posing  in  front  of  a 
large  mirror. 


COMMA  no 


firm  grasp  of  your  topic  from  the  slant  to  which  your  paper  leans;  try  and  imagine 
the  way  in  which  each  other  cartoonist,  with  whose  work  you  are  familiar,  would  treat 
the  topic  from  the  same  slant,  then  proceed  to  treat  it  as  differently  as  y ou  can. 

Having  decided  upon  the  picture  that  will  prove  the  very  best  vehicle  for  deliv- 
ery of  the  required  “punch,”  study  out  your  composition  with  a view  to  the  utmost  sim- 
plicity; then  tuck  up  your  shirt-sleeves  and  go  at  it  with  all  your  might,  for — be  it 
remembered — the  cartoonist  for  a daily  paper  must  work  with  his  ink  pot  on  one  side 
of  him  and  his  watch  on  the  other  and  speed  is  as  important  as  excellence  in  execution. 

In  concluding  this  chapter  I do  not  want  to  leave  the  impression  that  I recommend 
freakish  work  to  such  a degree  that  your  drawing  or  its  moral  is  impaired.  Take  what 
I have  said  upon  the  subject  of  originality  and  modify  it  to  conform  with  all  the  pre- 
ceding suggestions  and  you  will  arrive  at  my  meaning.  Never  loose  sight  of  the  fact 
that  originality  in  idea  and  execution,  even  though  the  picture  may  be  lacking  in  other 
respects,  will  attract  attention  and  create  comment  where  a magnificently  composed  and 
masterfully  penned  cartoon  of  conventional  conception  will  fall  flat. 

Headlines 

Let  the  general  sense  of  the  foregoing  apply  with  equal  force  in  the  conception 
of  your  headlines.  In  a measure  it  might  almost  be  said  that  the  cartoon  itself  is  sub- 
sidiary to  the  headlines  for  the  reason  that  the  latter  is,  or  should  be,  the  story  which 
the  cartoon  illustrates.  I believe  that  the  headline  should  be  determined  first  in  most 
cases  and  the  cartoon  be  modeled  as  an  appropriate  and  telling  illumination  of  the  poig- 
nant thought  which  the  caption  should  express.  Hence  I have  always  contended  that 
a cartoonist  should  write  his  own  headlines  and  that  he  should  be  classified  very  largely 
upon  his  ability  to  do  so  with  effective  originality. 

In  illustrations  on  pages  23,  33,  66  and  75  I offer  examples  showing  cases 
wherein  the  entire  sense  of  the  cartoon  is  dependent  upon  the  original  headline. 

“Breathers” 

The  use  of  “breathers”  in  cartoons  is  almost  as  ancient  as  the  cartoon  itself  and, 
personally,  I am  in  favor  of  their  use  wherever  the  sense  of  the  cartoon  can  thus  be 
more  readily  emphasized.  By  “breathers”  is  meant  words  printed  into  the  drawing  and 
surrounded  by  a line  which  emanates  from  the  mouth  of  one  or  more  of  the  figures 
in  the  composition.  The  strongest  cartoons  however,  are  those  which  tell  their  story 
at  a glance  without  assistance.  Examples  of  each  are  given  on  pages  39,  49,  52  and  57. 


Facial  Expression 


31 


Diagramatic  Evolution  of  a Smile  and  a Frown 


^ A 

r o r ^ 


33 


Caricature 

Elsewhere  I have  dwelt  to  some  extent  upon  this  absorbing  and  highly  essential 
branch  of  the  cartoonist’s  education. 

John  Sargent,  the  greatest  of  modern  portrait  painters,  has  stated  that  a thor- 
oughly successful  and  satisfying  portrait  must  be  (in  a modified  sense)  a caricature.  In 
other  words  the  portrait  should  emphasize  the  characteristic  features  of  the  subject  or, 
as  aforesaid,  show  them  in  italics. 

Hence,  in  cartoon  work  I think  that  every  face  and  figure  should  be  caricatured 
to  a greater  or  lesser  extent  according  as  it  isdesired  to  treat  the  person  cartooned  with 
kindly  consideration  or  with  ridicule  or  contempt. 

Thus  a large  man  should  be  drawn  larger  and  a small  one  smaller  in  any  case,  and 
the  extent  of  the  exaggeration  be  amplified  or  diminished  in  the  measure  of  the  sub- 
ject’s status  in  the  general  sense  of  the  cartoon.  I have  tried  to  illustrate  the  extremes 
of  caricatures  on  pages  49  and  62. 

Your  Signature 

This  may  seem  too  trivial  a topic  to  justify  a special  head  but  I can  assure  you 
that  it  is  not  so. 

Elsewhere  I have  stated  that  the  location  of  your  signature  upon  the  cartoon 
is  of  importance  in  some  degree  with  relation  to  the  general  composition.  It  is  impor- 
tant for  another  reason.  The  name  of  a popular  cartoonist  is  as  great  an  asset  to  the 
publication  printing  his  work  as  is  the  work  itself.  Keppler  of  Puck;  Nast  of  Har- 
per’s; Davenport,  of  the  Hearst  papers;  McCutcheon  and  Briggs,  of  the  Chicago  Trib- 
une; Donahey  of  the  Cleveland  Plain  Dealer;  Powers  and  Opper  of  the  New  York 
Examiner;  McCauley  and  Edgren  of  the  New  York  World  and  others  of  equal  note 
all  created  a vogue  for  the  name  their  creations  bear  before  they  became  of  great  value 
to  their  several  publications. 

The  young  cartoonist  should  bear  prominently  in  mind  that  the  space  occupied 
by  his  productions  in  a daily  paper  would  total  into  staggering  figures  if  measured  by 
agate  lines  at  the  end  of  the  year  and  paid  for  at  the  advertising  rate.  Surrounded  by 
reading  matter  and  usually  located  upon  the  front  page,  the  cartoon  is  the  most  strik- 
ing feature  of  the  paper  and  offers  its  creator  an  opportunity  for  personal  advertising 
that  could  not  be  purchased  for  other  purposes  by  the  wealthiest  merchant  in  his  com- 
munity. Under  these  circumstances  it  strikes  me  as  remarkable  that  many  struggling 
aspirants  for  cartoon  recognition  seem  to  deliberately  study  the  art  of  making  their  sig- 
natures utterly  illegible  and  then,  as  if  to  make  obscurity  doubly  certain,  so  mingle  it 
with  conflicting  lines  in  the  drawing  that  all  the  handwriting  experts  of  the  nation 
would  despair  of  identifying  the  author.  The  name  of  a cartoonist  is  a rare  asset. 


“Wine  is  a Mocker” 


33 


First  Class  Example  of  a Good  Headline 


Therefore,  let  me  repeat  my  former  admonition — sign  your  name  in  a prominent  place 
upon  your  drawing — not  too  aggressively  but  as  legibly  as  you  can  execute  it.  Don’t 
worry  about  making  it  characteristic  or  artistic  or  pretty — MAKE  IT  PLAIN. 

Than  this,  there  is  not  a more  valuable  hint  between  these  covers.  Many  old- 
timers  might  profit  by  its  serious  consideration. 

M aterials 

Having,  to  the  best  of  my  ability,  set  forth  the  methods  by  which  a successful 
cartoon  should  be  made,  I will  conclude  by  telling  you  what  to  make  them  with. 

This  is  really  a trivial  matter  because  it  is  of  little  consequence  what  you  actually 
use  in  order  to  produce  black  lines  upon  a white  surface.  Strangely  enough,  however, 
this  is  generally  the  first  information  that  is  eagerly  sought  by  the  amateur.  On  the 
other  hand,  some  materials  are  more  easily  handled  than  others,  and  I suggest  the 
use  of  four  to  six  ply  Bristol  board,  which  has  a sufficiently  hard  surface  to  resist  the 
point  of  a sharp  pen  and  to  take  clean  edged  lines  whether  broad  or  delicate.  This 
material  should  not  cost  more  than  eight  dollars  per  hundred  sheets,  twenty-two  by 
twenty-eight  inches  in  size. 

A dollar’s  worth  of  black,  water-proof  ink — either  Higgins’  or  French — will  last 
you  for  a year.  Any  old  pen  which  seems  to  suit  you  best — I personally  prefer 
Gillott’s  290,  as  it  is  the  most  pliable  and  “painty”  of  any  fine-nibbed  pen  that  I have 
found.  A piece  of  art-gum  and  a camel’s  hair  brush  or  two  will  complete  your  outfit, 
assuming  that  you  have  a drawing  board.  The  latter  can  be  had  at  any  art  store.  It 
should  be  light  in  weight  and  so  laminated  in  its  construction  that  it  will  not  warp. 

I believe  that  the  best  way  for  an  ambitious  student  to  secure  a start  is  to  get 
into  the  art  department  of  a big  daily  paper,  if  he  has  to  run  errands  for  nothing  a week, 
keep  everlastingly  grinding  out  cartoons  in  his  leisure  moments  and  await  recognition. 
If  he  has  even  moderate  ability  and  intelligently  accepts  as  a general  standard,  the 
teachings  of  this  book,  opportunity  and  recognition  will  surely  come. 

In  Conclusion 

Somewhere  between  these  covers  it  has  been  stated  that  Cory  has  herein  said  the 
first  and  the  last  word  about  the  cartoonist’s  art.  Emphatically  I want  to  say  that  the 
last  word  will  probably  never  be  spoken  and,  after  all,  I want  to  bespeak  your  charit- 
able consideration  for  having,  in  book  form,  attempted  to  speak  the  first. 

By  my  “brothers  in  arms”  I shall  doubtless  be  accused  of  immodesty  and.  per- 
chance, the  struggling  layman  may  deem  me  unreasonably  complacent. 

At  the  outset  I promised  not  to  apologize  for  this  book  but,  as  I close  its  pages, 
let  me  give  a final  demonstration  of  my  sincerity  throughout  by  calling  attention  to  the 
cartoon  on  page  4 entitled  “LOOKING  FORWARD,”  the  most  pretentious  that  I have 
used,  as  an  illustration  of  a failure. 

Many  beginners  may  be  surprised  to  learn  that  it  is  offered  thus  prominently  as 
a bad  example,  but  the  unassailable  fact  remains  that  there  is  little  to  commend  it.  The 


35 


student  is  requested  to  give  the  entire  text  of  this  book  a careful  analysis  with  relation 
to  this  drawing  and  thus  prove  to  himself  that  herein  is  violated  practically  every  car- 
dinal principle  that  I have  laid  down. 

This  drawing  was  printed  in  a great  daily  paper  and  occupied  a full  page  of  space. 
It  caused  scarcely  a ripple  of  comment  although  published  at  a time  when  the  topic  in- 
volved was  at  fever  heat. 

It  failed  because  it  was  an  overdone  production,  niggled  to  death  and  burdened 
with  too  much  detail. 


Mary  Had  A Little  Lamb 

“AND  so  THE  TEACHER  TURNED  HIM  OUT.” 


This  cartoon  is  founded  entirely  upon  a political  topic  of  sufficient  magnitude 
to  justify  commemoration.  The  drawing  teaches  nothing  and  it  should  be  classified  as  a 
“news  cartoon,”  merely  printed  to  amuse  rather  than  to  instruct. 


It  should  not  be  forgotten  that  such  ideas — if  timely,  are  viewed  with  favor  by 
editors  and  help  the  cartoonist  to  “get  by”  on  an  “off  day.”  When  you  can  provoke 
a smile  from  both  sides  of  a big  political  question  your  labor  has  not  been  in  vain. 


Now  For  A Splash! 


37 


Good  natured  news  cartoons,  bearing  strongly  to  the  ridiculous  side  of  a political 
situation,  will  often  create  more  comment  than  those  of  a more  serious  nature.  Out- 
side of  Maine  nobody  cared  very  much  whether  the  state  went  “wet”  or  “dry”  in  1911, 
but  nearly  everybody  who  saw  this  cartoon  when  the  decision  was  in  abeyance  had  a 
smile  at  it  and  so  the  sketch  fulfilled  its  mission. 


A Voice  from  the  Farm 


38 


Here  is  a method  of  conveying  a mild  “punch.”  It  may  be  termed  a “conversa- 
tional” cartoon  in  which  the  dialogue  carries  the  burden  of  the  idea;  and  the  strength  of 
the  picture,  outside  of  the  “breathers,”  is  couched  in  the  execution  and  composition. 


The  Oldest  Story 


The  trial  and  conviction  of  Evelyn  Arthur  See  in  1911  for  contributing  to  the 
delinquency  of  young  girls,  created  widespread  interest.  The  accompanying  cartoon 
was  extensively  copied  and  is  printed  here  as  a good  example  of  the  Human  Interest- 
Topical  variety. 


Where  Grim  Death  Daily  Lurks 


The  topic  of  safeguarding  young  chi  Idren  is  always  acceptable  to  the  editor. 


The  Real  Tragedy  of  the  Strike  Situation 


. 

\ _ 

A 

\\ 

Another  phase  of  the  strike  situation  in  which  the  sympathy  of  the  reader  is  in 
voked  for  one  of  the  real  sufferers. 

This  style  of  cartoon,  offered  to  the  public  on  appropriate  occasions,  is  unus 
ually  compelling  and  bound  to  create  lauditory  sentiment  for  its  creator. 


We’d  Like  to  Know  ? 


Why  did  the  last  week  of  school  seem  so  very,  very  long  and  and  the  last  week  of  vacation  so  remarkably  short? 


A Tragedy  of  Vacation 


4: 


HEV  JIH  ! f]Li  the 
fellers  HRE  down 
HI  THE  CRJCk  HN  ' 

Weve  ketched  four 

POLLYWOGS  f\N 
BULL-HEaDHM' 
Two  Sr^RPPjH’ 
TURTLES  P^N  ’ NOW 
WE'RE  GOiN  JN 
Swjr»niN 


WV  V 


44 


In  The  Good  Old  Summer  Time 


Tragedies  Of  Childhood 


46 


When  Pa  sits  down  on  the  carpet  tack 
that  you  had  so  carefully  planted  for  your 
_ little  brother — the  main  tragedy  immedi- 
ately follows. 


When  you  have  to  take  the  baby  out  for 

an  airing  and  you  meet  “the  gang”— isn’t  it 

simply  fierce? 


When,  in  your  fiercest  manner,  you  dared 
that  innocent  looking  new  kid  to  knock  a 
chip  off  your  shoulder  and  he  up  and  did  it 
and  gave  you  a swell  licking  besides — gee! 
wasn’t  that  the  limit. 


bread  and  milk. 


Do  You  Remember 


Your  first  shave  and  how  hard  it  was  to  tell  the 
barber  what  you  wanted. 


Your  first  “stand-up”  collar  and  how  very  large 
it  felt. 


Your  first  week’s  salary — how  enormous  it  looked 
and  what  visions  of  affluence  it  inspired. 


The  first  time  you  called  on  a girl — how  fright- 
fully large  and  clumsy  your  hands  and  feet  became. 


Do  You  Remember--(Cont’d.) 


47 


When  a fellow’s  mother  takes  the  notion  to  cut  his  hair. 
GEE  WHIZ!  How  it  pulls! 


Your  first  smoke  and  how  brutal  Pa  was  when  you  were 


dying. 


1 THANK  you  1 
YOU  HAVE  THIS  1 \ ) 

DAY  SAVED 

V YouFf  COONTRy  X 

^ ) 

PRESlOENr  'j 


When  you  had  been  caught  playing  hooky  and  Pa  sem 
you  out  in  the  garden  to  cut  a switch  and,  to  soften  his 
heart,  you  brought  him  a bludgeon  like  this  and  Pa  actu- 
ally licked  you  with  it— wasn’t  it  something  fierce? 


48 


Quite  Right,  Old  Friend 


r 


49 


A Form  of  “Labor  Union”  Advocated  by  Cardinal  Gibbons 


ivcr  VKc  Kolia  of  VKe  alad 
^Krwlmaslide  jue  fcsloon 
IKe  crape  of  a cila^  ntourmna 
for  me  warlareil  Horan  and 
W fellont  Kcroe^  dead 


She’s  With  Us  Again! 


When  the  sun  is  hot  and  the  water  blue 
And  the  clover  nods  to  the  breeeze, 

Comes  the  summer  girl  with  the  fetching  curl 
And  filmy  gowns  and  teeth  of  pearl. 

To  set  male  hearts  in  a dreadful  whirl 
As  she  lolls  beneath  the  trees. 


And  the  dainty  Miss  who’s  the  subject  of  this 
Never  dreams  of  the  havoc  wrought; 

With  the  same  sunny  smile,  all  men  she’ll  beguile 
Till  her  casualty  list’s  as  long  as  the  Nile — 

Kach  ^.illy  young  man  thinks  he's  IT  for  a while, 
And  gets  scorched  as  all  silly  chaps  ought. 


52 


Let  the  Phantom  Do  It 


Don’t  worry  about  the  conduct  of  your  children  nowadays — the  ever-present 
and  watchful  phantom  of  Santa  Claus  will  vouch  for  their  behavior  for  the  next  two 
weeks. 


63 


A Post-Thanksgiving  Dream 


54 


The  Hot  Spell  Problem — What  Shall  We  Eat? 


Signs  of  the  Times 


When  It’s  Hot 


56 


/ 1, 


who  said  “There’s  Always  Room  at  the  Top?” 


An  excellent  example  of  the  intelligent  use  of  “breathers.” 


58 


Timely  Hints  on  Sporting  Etiquette 


It  is  considered  bad  form  not  to  smile  genially  under  circumstances  like  this. 


All  In 


o9 


3lST  Got  licked  rt  theAvirhon 
meet  - Hn'then  h GoL-Dunneo 
PflCiM-HoSS  Done  kie  r/ow 

\ Gotta  Go  to  Elgin  rn* 

Git  licked  Some  more  ! 
HEIGH-Hof  GUESS  I'LL  Go  ooT^ 
IN  the  GflRPEN  flN‘  E/IT  WORMS 


Good  Composition. 


Ready  and  Willin’  too,  B’gosh! 


60 


Note — Altitudinal  and  facial  expression  is  good. 


61 


A Difficult  Subject  for  the  Hypnotist 


62 


*Ot  Stuff! 


It  is  whispered  in  the  gossip’s  corner  of  diplomatic  circles  that  our  Ambassador 
to  the  court  of  St.  James  will  attend  all  important  functions  during  the  coronation  cere- 
monies, attired  in  knickerbockers. 


What  Will  He  Do  With  It? 


Here  is  a hurriedly  conceived  and  executed  cartoon  bearing  upon  an  unexpected 
political  condition  in  which  Uncle  Sam  is  placed  in  an  embarrassing  situation.  There  is 
no  lesson  in  it  beyond  the  news  value,  and  the  rather  weak  point  is  entirely  dependent 
upon  the  facial  and  attitudinal  expressions. 


Not  a Bad  Idea! 


Now  that  the  Aldrich  Tariff  Law  is  in  force,  and  the  Aldrich  Currency  Bill  pend- 
ing, why  not  make  the  trusts  a present  of  the  nation  and  reach  the  same  end  by  a shorter 
route? 


“I  Can’t  Understand  Why  The  People  Don’t  Like  Me — I’ve 

Always  Been  A Good  Republican” 


67 


68 


The  Vulture!of  Wall  Street 


J,  P.  Morgan  has  become  such  a national  figure  in  American  finance  that  his  face 
is  often  used  by  the  cartoonist  when  typifying  the  “Money  Power.” 


69 


Hush  Charlie,  Wait  ’till  You  Grow  Up 


Buffalo  Bill  Lorimer 


The  Rough  Rider  of  the  Senate 

Here  is  an  attempt  to  ridicule  a prominent  ex-member  of  the  United  States 
Senate  whose  grip  was  finally  broken  from  his  senatorial  seat.  History  doubtless  will 
record  the  final  repudiation  of  ex-Senator  Lorimer  as  largely  due  to  the  merciless  and 
concentrated  onslaught  of  American  cartoonists. 


The  Amiable  Chef 


71 


A premonitory  suggestion  of  what  happened  in  the  election  of  1912. 


Foreseeing  such  a result,  Mr.  Bryan  naturally  wears  a pleased  expression,  and 
the  entire  composition  is  of  an  amiably  prophetic  nature  based  upon  the  news  of  the 
moment  which,  after  all,  is  the  chief  source  of  the  cartoonist’s  material  in  the  matter 
of  ideas. 


A Cheerful  Outlook  for  the  “Donk” 


Every  reader  of  a daily  paper  likes  to  smile  regardless  of  his  politics  and  this 
drawing,  while  based  upon  the  news  of  the  day,  is  intended  to  amuse  rather  than  in- 
struct 


Xhe  Colonel  May  Start  The  Rough  Stuff  At  Chicago 


A news  cartoon  portraying  a situation  which  has  gone  into  history.  It  has  little 
to  recommend  it  beyond  the  suggestion  of  action,  fairly  good  composition  and  tip-top 
printing  quality,  all  of  which  characteristics  are  worthy  of  careful  consideration. 


74 


The  Capital  Prize  at  the  Convention 


In  dealing  with  our  colored  brethren  in  cartoons,  a degree  of  care  must  be  exercised  lest  we  give 
offence  beyond  the  line  established  by  the  fixed  policy  of  the  paper  we  serve.  The  negro  vote  is  impor- 
tant in  many  localities  and  some  dailies  of  high  standing  and  vast  circulation  will  not  permit  a hint  of 
ridicule  of  the  dusky  race  to  appear  in  their  columns. 


This  style  of  treatment  is  rather  unusual  for  the  writer — consisting  as  it  does  of 
outline  and  solid  blacks.  Nevertheless,  it  is  an  effective  combination  when  cleverly  ex- 
ecuted, and  the  printing  quality  is  bound  to  be  first  class  because  of  the  absence  of  nig- 
gling lines. 


76 


The  Sky-line  At  Baltimore 


Elsewhere  reference  has  been  made  to  the  avoidance  of  detail  when  it  becomes 
necessary  to  show  a multitude,  or  a city.  The  suggestion  of  a city  in  this  cartoon  will 
serve  to  illustrate,  and  attention  is  also  called  to  the  feeling  of  perspective  suggested  by 
the  convergent  lines. 


77 


Nothing  Doing 


A cartoon  (rather  poorly  executed)  in  which  a good  idea  has  been  inadequately 
expressed.  This  idea  was  unquestionably  worthy  of  far  more  carefully  prepared 
composition  and  much  better  execution.  It  deals  with  a matter  vitally  affecting  the 
labor  organizations  and  consequently  of  the  greatest  importance  to  the  daily  paper. 
I print  it  as  an  example  of  partially  wasted  opportunity  wherein  a thoroughly  good 
idea  has  been  slighted  by  careless  drawing  and  thereby  has  lost  fifty  per  cent  of  its 
deserved  force. 


78 


That  Embarrassing  Moment 


As  a rule  I avoid  cartooning  women.  First  because  I find  them  difficult  of  application  to  cartoon  situations 
and,  secondly,  for  the  reason  that,  to  me,  it  seems  like  a desecration.  The  suffrage  question  has  reached  such  a 
stage  of  general  recognition  however,  that  I fear  we  shall  have  to  take  an  impartial  view  of  the  sexes  and  occa- 
sionally be  very  unkind  to  a too  aggressive  sister;  therefore  the  cartoonist  of  the  future  may  find  it  greatly  to 
feis  advantage  to  devote  much  of  his  attention  to  the  delineation  of  the  weaker  (?)  sex. 


79 


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